About me

I'm an Italian designer based in Alton, Hampshire, and I've spent ten years designing digital products, journeys and the creative around them.

Currently leading design at Client Flo Media, and open to new roles.

Portrait of a man with shoulder-length brown hair, glasses, and a light beard, wearing a black t-shirt, standing against a plain white background.

From Branding to CRO

I started in branding. My master's was in graphic design and branding, and my early work was about how things looked and felt. Then I joined Conversion.com in London, running experiments for Canon, Samsung, Secret Escapes and Superdrug, and something shifted: for the first time I could see whether the work had actually done anything. Some of my best-looking designs lost. Some of the plain ones won. I've been trying to understand why ever since.

That question has shaped everything since. At Leadstream I moved from Lead Designer to Head of Design and CRO inside a year, mostly by rebuilding things people had assumed were already fine. At Ropto I owned UX and optimisation across lead generation. For the last six years I've led design at Client Flo Media, working across regulated and consumer-service sectors — landing pages and advertorials at one end, an online Will builder and advisor dashboards at the other.

Man in gray blazer and glasses looking at a whiteboard filled with wireframes, diagrams, handwritten notes, and sticky notes related to website design or development.

How I work

The stated problem is usually a symptom. Before designing anything I want to know what's actually happening and why, which means going into the data rather than taking the request at face value.

I look for the problem behind the brief.

The ad, the page, the form, the follow-up. Most problems live in the joins between them, not inside any one piece, and you only see them if you're looking at the whole thing.

I follow the whole journey.

I research the market and what's already fatigued, build static and video variants from that, and let performance decide which survive, then carry the winning message straight through to the page it lands on.

I treat creative as a testable variable.

It's easy to optimise for form completions and produce more leads that go nowhere. I'd rather track it downstream and know whether it turned into a real customer.

I measure what matters.

Design doesn't end at handover. I work with developers through implementation, QA across devices, and stay involved through launch, then look at what happened and change what didn't work.

I stay until it's built.

Structured page and asset records, task history, naming conventions. Unglamorous, but it's the difference between a team that learns from its tests and one that keeps rerunning them.

I keep track.

A man with glasses and curly hair standing next to a bus stop display showing upcoming tribute nights at the Alton Assembly Rooms, outdoors with residential buildings and leafless trees in the background.

Running my own thing

In 2024 I set up Artlux Media and, alongside it, Stagegrand — a live-events business promoting shows across Hampshire and Surrey. I own all of it: the artists, the contracts, the venues, the pricing, the ticketing, the campaigns and the nights themselves.

It has been the most useful design education I've had. Running my own Meta campaigns, with my own money, means I've felt the gap between a page that tests well and a customer who actually turns up. Around £7,500 of spend, 644 attributed purchases, a blended cost per acquisition of £11.75, and more than 3,000 tickets across the portfolio. It's taught me more about the cost of a bad assumption than any brief ever has.

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